/<T2 


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in  2017  with  funding  from 
Columbia  University  Libraries 


https://archive.org/details/kingcolorruleshoOOacme 


Bmg  <Tolor  Uulrs  !t)c  Jlome 


Rulestheljo 


Cfjisi  book  is  bebicateb  to  that  artistry  of  authentic 
becoration  by  tofjtcf)  a \)ou&t  truly  becomes  a home, 
rabiating  harmony  anb  cheerfulness  Uiithin  anb 
toitbout,  anb  sincerely  reflecting  the  personality  of 
those  it  shelters.  Che  Authors 


SUme  ileal)  & (Color  (ISiorliS 

"Clje  iftousc  of  Color” 

Sllnmmstration  Offices,  Detroit,  fHicl).,  iH.  B>.  3. 


IBrancljcs  in  Principal  Cities 


Dealer  !&erUicc  Stations  CUerrluhcrc 


Copyright  1928 

ACME  WHITE  LEAD  &.  COLOR  WORKS 
DETROIT 


es 


°T 

Sell 


Printed  in  U.  S.  A. 


KING  COLOR 
RULES  THE  HOME 


by  Dr.  C.  D.  Holley,  and  Associates,  Acme  Quality  Color  Division,  in 
collaboration  with  Tfancy  McClelland,  the  well  \nown  Interior  Decorator, 
and  Parser  Morse  Hooper,  Editor  of  The  Architectural  Forum. 


f\  U S K I N said:  “We  cannot  arrest 
sunsets  nor  carve  mountains, 
but  we  may  turn  every  home,  if  we 
choose,  into  a picture  which  will  be  no 
counterfeit,  but  the  true  and  perfect 
image  of  life  indeed.” 


Nature  always  lias  known  her  colors. 
And  what  a myriad  of  brilliant  har- 
monies she  presents  to  cheer  the  tired 
eye  anti  a prosaic  world!  Always  in 
tune.  Never  a false  note.  Every  color 
true  and  authentic.  Each  shade,  tone 
and  tint  used  with  infallible  certitude. 


So,  in  this  great  Age  of  Color  which  has 
swept  the  world  like  a glorified  rainbow, 
the  great  question  is  “How  can  I know 
my  colors?” — a question  that  assumes 
momentous  import  when  applied  to  the 
problem  of  home  decoration  inside  and 
out. 


King  Color  rules  the  home.  And  his 
reign  will  be  long.  History  shows  that 
successive  periods  of  color  have  not 
been  vogues  of  a passing  moment.  Each 
color  period  has  endured  for  many 
years.  And  the  color  fashion  of  today 
bids  fair  to  take  its  place  as  the  greatest 
color  period  of  all.  It  is  undoubtedly 
here  to  stay  beyond  the  recollection  of 
the  present  generation. 

People  are  color  alert,  color  wise,  color 
sophisticated.  Not  to  know  one’s  colors 


in  home  decoration  is  to  be  sadly  out  of 
tune  with  the  times.  Colors  for  the  home 
must  be  selected  not  only  for  their  own 
intrinsic  beauty  and  worth,  but  for  their 
lasting  effect  on  people  both  outside  and 
inside  the  home.  To  choose  colors  un- 
wisely is  to  invite  not  only  unfavorable 
criticism  but  added  expense  through 
decoration  which  must  be  done  over. 
And  in  the  meantime  you  must  live  with 
your  mistakes. 

While  there  are  but  a very  few  princi- 
pal colors,  these  are  interspersed  with  a 
myriad  line  gradations  whose  exact  dif- 
ference one  from  another  is  as  marked 
as  that  between  the  main  colors  them- 
selves. 

The  selection  of  colors  that  are  correct  , 
authentic,  authoritative,  covers  many 
things:  First  of  all  there  must  be 
beauty.  That  is  important.  But  with 
beauty  there  must  be  durability . That 
is  imperative.  One  cannot  be  correct 
with  cheap,  inferior  paint  products  that 
smile  today  and  frown  tomorrow.  As 
the  home  has  a personality,  as  rooms 
have  a personality,  so  should  the  colors 
have  a personality.  And  there  can 
be  no  true  personality  in  that  which 
continuously  undergoes  detrimental 
change.  Color,  like  character,  should 
be  constant,  since  its  importance  is  per- 
manent, and  wise  selection  is  necessary. 


5 


So,  the  study  of  color,  as  in  many  other 
realms  of  art  and  industry,  has  become 
a pronounced  science.  Forty  years  of 
experimentation  in  the  creation  and  de- 
velopment of  authoritative,  durable 
colors  in  Acme  Quality  laboratories  has 
given  to  the  home  owner  today  the 
expert  and  practical  knowledge  so 
ardently  sought  by  color  technicians 
of  yesterday. 

It  is  comforting  to  know,  for  example, 
what  colors  to  use  for  the  outside  of  the 
home.  What  marked  and  pleasing  con- 
trasts may  be  had  in  the  mere  change  ol 
a tone  here  or  there.  What  for  the  roof. 
The  trim.  Casements.  Porches. 

And,  above  all,  what  colors  to  use  in- 
side, where  King  Color  particularly 
holds  sway.  What  lor  the  dining  room. 
Living  room.  Halls.  W hat  for  ceilings. 
W oodwork.  Floors.  How  to  be  daring, 
yet  artistic.  Distinctive,  yet  in  good 
taste. 

It  is  with  these  very  questions  in  mind 
that  this  book  has  been  prepared  for  the 
home  owner  who  wishes  to  be  correct 
and  above  criticism  in  color  selection. 
Each  of  the  exterior  and  interior  de- 


signs shown  is  by  a leading  architect. 
The  interior  decorative  schemes  are 
equally  authoritative.  As  the  colored 
illustrations  and  printed  descriptions 
showq  this  is  a correct  guide  to  authori- 
tative home  beauty.  But  writh  this 
added  thought: 

That  beauty  itself  is  not  all.  That  with 
beauty  there  must  be  durability . For  a 
color  scheme  is  like  music — one  jarring 
note,  and  all  is  discord.  W hich  gets  us 
back  to  what  has  already  been  said — 
tha  t only  quality  colors  can  be  authori- 
tative, only  authoritative  colors  can  be 
correct,  only  correct  colors  can  be  en- 
during, only  enduring  colors  can  be 
truly  harmonious. 

W ith  Acme  Quality  Colors  one  is  bound 
to  be  ri  ght  in  correct  color  selection. 
Each  color  is  mixed  after  over  40 
years’  experience.  Each  has  its  prede- 
termined place  in  the  great  Color 
Scheme.  And  each  is  made  with 
highest  quality  ingredients  to  with- 
stand the  ravages  of  wear  and  the  great 
test  of  1 ime itself.  It  is  important,  there- 
fore, to  specify  Acme  Quality  for  that 
durable  home  beauty  which  means  so 
much  to  the  home  owner’s  satisfaction. 


A copy  oj  Hits  book  may  be  had 
for  556  in  stamps,— less  than 
printing  cost, — by  addressing 
Acme  White  Lead  e3  Color 
Jf  orks,  Dept.  B,  Detroit , A Itch. 


6 


ACKNOWLEDGMENT 


T)iie 


fine  spirit  of  cooperation,  which  is  always  evidenced  whenever 


a serious  effort  is  made  to  promote  a wider  public  appreciation  ol 
good  architecture  and  good  decoration,  has  made  possible  this  book. 


It  is  therefore  fitting  that  the  Acme  White  Lead  & Color  Works 
acknowledge  here  their  appreciation  of  the  generous  interest  in  this 
effort  by  the  following  eminent  architects  who  not  only  have  per- 
mitted the  use  of  residences  designed  by  them  but  have  likewise 
assisted  in  the  development  of  the  color  schemes  shown: 


Phelps  Barnum 
Robert  Derrick 
Thomas  H.  Ellett 
Aymar  Embury  II 
Frank  J.  Forster 
Leigh  French,  Jr. 


Edmund  B.  Gilchrist 
R.  C.  Hunter  & Bro. 
Howard  Major 
Peabody,  Wilson  & Brown 
George  F.  Root,  3rd 
Russell  S.  Walcott 


These  gentlemen,  no  less  than  Miss  McClelland,  Mr.  Hooper  and  Dr. 
Holley,  who  actually  arranged  the  material  m book  form,  have  placed 
in  their  debt  home  owners  throughout  the  country  who  will  find 
this  volume  rich  in  suggestion  and  in  inspiration  of  a practical  kind. 


MITE. — The  colors  shown  in  Hits  book  are  in  all  cases  based  on 
colors  in  the  Acme  Quality  hue.  Under  each  illustration  the  colors 
hare  been  identified  so  that  you  may  adoise  your  painter  specifically 
what  to  use  in  duplicating  any  oj  the  schemes  shown.  It  should  be 
appreciated , howecer,  that  the  limitations  oj  printing  do  not  permit 
us  to  reproduce  with  absolute  integrity  the  beauty  and  wonderful 
finish  oj  Acme  Quality  colors.  The  houses  and  rooms  shown  in  this 
book  can  only  approximate  the  beautiful  effects  which  will  result 
from  the  use  of  Acme  Quality  Paint  and  Varnish  Products. 


7 


Roof,  Acme  Quality  Shingle  Stain  No.  7,  Silver  Gray;  Walls,  Acme  Quality  New  Era  House  Paint,  Outside  White;  Blinds, 

Acme  Quality  Durable  Green,  Medium 


A COLONIAL  FARMHOUSE 


R.  C.  HUNTER  &.  BRO.,  ARCHITECTS 


In  no  field  of  architectural  design  has  greater  improvement  been  made 
than  in  the  American  country  house.  This  fact  is  as  true  of  small  as  of 
large  houses.  Due  to  this  tremendous  increase  in  the  appreciation  of 
well  designed  homes,  and  the  subsequent  use  of  the  services  of  archi- 
tects who  create  these  homes,  many  young  architects  have  gained  a 
wide  and  enviable  practice  in  this  particular  field.  Invariably,  these 
architects  of  country  houses  have  increasing  opportunity  to  extend 
their  field  into  other  types  of  architectural  design.  This  is  true  of  the 
firm  of  R.  C.  Hunter  Q Dro.,  who  are  among  the  best  known  archi- 
tects of  country  houses  in  the  United  States.  Examples  of  their  work 
cover  a wide  range  of  styles  and  a wide  extent  of  territory,  reaching 
from  Maine  to  the  M ississippi.  All  of  their  houses  show  refinement  of 
detail  and  freedom  in  stylistic  expression. 


THIS  firm  is  perhaps  best  known  through 
its  use  of  Colonial  precedent,  although 
today  they  are  among  the  leaders  in  the  pro- 
motion of  the  French  and  English  farmhouse 
types.  One  of  their  attractive  Colonial  designs 
has  been  selected  for  inclusion  in  this  group  ol 
outstanding  country  houses.  The  composition 
of  the  house  and  garage  wing  is  well  balanced 
and  pleasing.  An  understanding  of  scale  is 
shown  throughout  the  design,  as  indicated  bv 
the  repetition  of  arches  of  similar  shape  and 
size  for  the  main  entrance  door,  the  openings 
of  the  covered  porch  and  garage  door.  The  red 
brick  chimney  at  one  end  of  the  house  forms 
an  important  and  successful  leature  in  the 
composition.  The  warm  red  bricks  of  this 
chimney  make  a satisfying  color  break  between 
the  white  painted  walls  of  the  main  house  and 
the  porch  wing.  The  green  blinds  of  the 
windows  and  the  front  door  and  porch  open- 
ings, provide  the  contrasting  color  note  always 
necessary  on  a white  house.  The  living  room  is 
decorated  and  furnished  in  the  Georgian  style. 
Blue  painted  walls,  printed  linens  in  yellow 
and  green  make  a pleasing  color  combination. 


The  attractive  use  of  color  in  the  living  room  is 
repeated  in  the  dining  room,  where  the  walls 
are  painted  a gray  green,  and  chintz  in  mul- 
berry and  white  is  used  for  the  window  cur- 
tains and  chair  coverings.  Even  the  kitchen  is 
modernized  by  the  use  of  enamel  ivory  paint, 
with  mouldings  of  the  doors  and  cupboards 
picked  out  in  gray  green,  repeating  the  same 
green  tone  found  in  the  tile  floor.  Even  the 
sink  is  modern  green  glazed  porcelain.  For  the 
chairs  and  table,  as  well  as  th  e edges  of  the 
window  curtains  very  rich  deep  red  is  used. 
In  the  largest  of  the  several  master’s  bedrooms 
the  walls  are  painted  in  light  yellow,  relieved  by 
the  gray  green  of  the  window  curtains  and 
chair  covering.  Book  shelves  and  cupboards 
fill  up  the  space  under  the  slight  roof  slope  at 
one  end  of  the  room.  This  drawing  clearly 
shows  what  excellent  headroom  and  ceiling 
height  is  obtainable  in  a story  and  a hall 
house  where  the  roof  is  carried  up  to  a reason- 
able height.  One  of  the  outstanding  character- 
istics of  the  hundreds  of  country  houses  he  has 
built  is  the  beauty  of  their  roof  lines  and  their 
well  spaced,  well  proportioned  dormer  windows. 


Ceiling.  Acme  Quality  Kalsomine  No.  77;  Walls  and  Woodwork,  Acme  Quality  No-Lustre  Finish  No.  53,  Light  Yellow 


Ceilin 


Quality  Kalsomine  No.  51;  Walls  and  Woodwork  Acme  Quality  Kalsomine  No.  57 


10 


Ceiling,  Acme  Quality  Kalsoimne  No.  53;  Walls 


ind  Woodwork,  Acme  Quality  No- Lustre  Finish,  First  Cc 
Coat.  No.  57  Scumbled 


it,  White,  Second 


11 


Roof.  Acme  Quality  Shingle  Stain  No.  7,  Silver  Gray;  Door  and  Blinds,  Acme  Quality  Durable  Green,  Medium;  Cornice  and 
Wood  Trim,  Acme  Quality  New  Era  House  Paint,  Outside  White 


12 


COUNTRY  HOUSE  IN  THE  GEORGIAN  STYLE 

PHELPS  BARNUM,  ARCHITECT 


In  many  of  the  most  attractive  country  houses  built  in  the  United 
States  during  the  fast  25  years,  the EnglishGeorgian , or  its  American 
expression,  the  "Colonial  style,  has  been  used.  'I  he  balance,  sym- 
metry and  dignity  of  the  English  Renaissance  were  appropriate 
characteristics  for  the  architectural  expression  of  the  civilization  set 
up  and  developed  in  this  country  by  our  English  ancestors.  The 
houses  were  as  formal,  dignified  and  refined  as  were  the  descendants 
of  the  Puritans  and  the  Cavaliers  who  originally  founded  and  settled 
the  north  and  south  Atlantic  states.  Among  the  prominent  younger 
architects  who  have  been  eminently  successful  in  their  use  of  Georgian 
Colonial  architecture  is  Phelps  Barnum,  of  New  York.  Graduating 
from  Yale  University  and  later  from  the  Architectural  School  at 
Columbia  University , this  talented  architect  continued  his  studies  in 
France.  Extensive  travels  through  Europe  further  prepared  him  for 
the  practice  of  his  profession.  After  obtaining  early  experience  in  the 
office  of  John  Russell  Pope,  he  became  a member  of  the  well  known 
New  York  firm  of  Cross  & Cross. 


IT  is  interesting  to  note  the  results  when  an 
architect  as  prominent  as  Air.  Barnum, 
who  specializes  in  large  office  buildings  and 
important  residential  work,  undertakes  to 
design  a comparatively  small  house.  (It  is 
often  said  that  leading  architects  are  not  anxi- 
ous to  design  small  houses.  This  is  really  not 
the  case.  There  is  no  problem  in  the  entire 
architectural  field  more  interesting  to  the  pro- 
fession or  more  important  than  the  designing 
of  the  less  pretentious  homes.  There  can  be  no 
hope  ot  development  in  the  architectural  taste 
and  increase  in  the  appreciation  of  the  general 
public  until  the  quality  of  the  American  house 
is  greatly  improved.  Too  many  people  feel  that 
they  cannot  afford  to  employ  an  architect). 


The  exterior  is  constructed  of  carefully  se- 
lected brick  made  in  Virginia.  The  color  of  the 
brick  is  a golden  red  with  much  variation  in 
tone.  The  wood  trim  is  all  painted  deep  cream. 
On  the  interior  all  of  the  rooms  are  Colonial. 
The  period  of  the  dining  room  is  indicated  by  a 
beam  ceiling,  the  unpaneled  low  wainscoting 
anti  the  architectural  treatment  of  the  chim- 
ney-piece, all  of  which  are  characteristic  of  the 
early  American  style.  The  color  treatment  is 
typically  Colonial  in  character.  The  walls  are 
painted  a shade  of  light  yellow  which  borders 
on  the  buff  and  the  woodwork  a deep  cream 
color.  The  use  of  carefully  and  well  selected 
colors  throughout  thisattractive  house  isoneof 
its  most  appealing  characteristics  and  charms. 


Second  Floor  Plan 


13 


Doors,  Ceiling  Beams  and  Panels.  Acme  Quality  Oil  Wood  Stain,  Dark  Oak;  Plaster  Walls.  Acme  Quality  No-Lustre  l'inish 
No.  55,  Light  \ cl  low  ; Trim  and  Wainscot , Acme  Quality  No- Lustre  1*  inish , W lute 


Ceiling,  Acme  Quality  Kalsomine  No.  77;  Walls,  Acme  Quality  No-Lustre  Finish  No.  56.  Light  Buff;  Woodwork, 
Acme  Quality  No-Lustre  Finish  No.  73,  Light  Ivory 


14 


Ceiling,  Acme  Quality  Kalsomine  No,  77;  Paneled  Walls  and  Trim,  Acme  Quality  Oil  Wood  Stain,  Light  Oak 

Finished  with  Wax  and  Rubbed  Down 


Ceiling,  Acme  Quality  Kalsomine  No  51;  Walls,  Acme  Quality  No-Lustre  Finish  No.  70,  Light  Green;  Woodwork,  Stair  Rail 
and  Trim,  Acme  Quality  No-Lustre  Finish  No.  75,  Light  Ivory 

15 


Roof  Shingles,  Acme  Quality  Shingle  Stain,  Silver  Gray;  Timber  Work  and  Trim,  Acme  Quality  Shingle  Stain,  Bungalow 
Brown;  Stucco  Work,  Acme  Quality  Concrete  Finish,  Buff 


16 


AN  AMERICAN  HOUSE  IN  THE  JACOBEAN  STYLE 

GEORGE  F.  ROOT,  3RD,  ARCHITECT 

Among  the  many  successful  and  ivell  known  younger  architects  in 
New  York,  Mr.  Root  ranks  high.  There  is  a conscientious  con- 
sistency and  conservative  character  in  all  of  his  work.  Especially 
known  as  a country  house  architect,  Air.  Root  has  well  earned  his 
reputation  during  the  six  years  he  has  been  in  practice  since  he  com- 
pleted his  academic  and  architectural  training.  After  graduating 
from  Princeton  University,  three  years  were  spent  in  the  Archi- 
tectural School  of  Columbia  University . This  academic  training  was 
followed  by  travel  and  study  in  Europe , and  six  years  spent  in  three 
of  the  foremost  architectural  offices  in  New  York, — those  of  John 
Russell  Pope,  Delano  & Aldrich  and  Benjamin  Wistar  Morris. 

This  thorough  and  diversified  training  and  office  experience  has  well 
fitted  Mr.  Root  for  his  professional  career  as  an  architect  of  country 
houses  in  many  styles. 


TMIE  house  illustrated  on  the  opposite  page 
is  one  of  many  country  houses  of  moder- 
ate size  which  Mr.  Root  has  designed  in  vari- 
ous expressions  of  Tudor,  Elizabethan  and 
Jacobean  architecture.  He  is  particularly  suc- 
cessful m using  these  types,  as  he  possesses  a 
thorough  knowledge  of  the  underlying  princi- 
ples , understands  the  grouping  and  combination 
ot  bays  ami  dormers  of  various  sizes  and  types. 
His  roof  lines  are  invariably  good,  and  his 
combination  of  such  materials  as  stucco, 
brick,  stone  and  half-timber  are  always  con- 
sistently and  attractively  carried  out.  The 
example  of  Mr.  Root’s  work  shown  here  is 
probably  located  on  a hillside  above  one  of  the 
lakes  in  Westchester  County.  The  informal 
and  picturesque  character  of  the  house  is  well 
suited  and  appropriate  to  its  surroundings. 
Following  the  principle  of  good  architecture, 
color,  as  should  always  be  the  case,  is  the  im- 
portant factor  in  the  interior  decorations  of  this 
house.  Green,  yellow  and  brown  are  the  three 


dominant  colors  in  the  living  room.  The  walls 
are  of  soft  golden  yellow,  almost  as  deep  as 
yellow  ochre,  against  which  the  warm  brown 
of  the  woodwork  contrasts  pleasantly.  English 
printed  linens  in  green,  relieved  by  Chinese 
red,  repeat  the  darker  green  shades  of  the 
large  rug.  The  rough  plaster  walls  ot  the  dining 
room  are  painted  blue  with  the  rich  brown  of 
the  stained  oak  woodwork  and  furniture  and 
floor  in  sharp  but  pleasing  contrast.  The  bed- 
rooms are  particularly  cheerful  with  their  light 
painted  walls  and  gay  cretonnes  and  chintzes. 
Here  strong  tones  of  green,  lavender,  yellow 
and  peach  are  successfully  used.  The  interiors 
are  consistently  carried  out  in  a simple  adapta- 
tion of  English  architecture.  Oak  trim  and 
book  shelves  in  the  living  room  and  oak  board 
paneling  for  the  walls  of  the  study  give  a suc- 
cessful interpretation  ot  simple  Jacobean  in- 
teriors. Unfortunately,  from  so  brief  a descrip- 
tion, little  realization  can  be  obtained  of  the 
satisfactory  liveableness  of  this  English  house. 


17 


Ceiling,  Acme  Quality  Kalsomine  No.  56;  Walls,  Acme  Quality  No-Lustre  Finish  No.  67,  Light  Tan;  Woodwork,  Acme  Quality 

Oil  Wood  Stain.  Dark  Oak 


Ceiling,  Acme  Quality  Kalsomine,  While;  Walls,  Acme  Quality  No-Lustre  Finish  No.  5o,  Light  \ ellow; 
Woodwork,  Acme  Quality  Oil  Wood  Stain,  Light  Oak 


18 


Ceiling,  Acme  Quality  Kalsomine  No.  51;  Walls  and  Woodwork,  Acme  Quality  No-Lustre  Finish  No.  70.  Light  Green 


19 


Roof,  Acme  Quality  Shingle  Stain  Xo. 


10,  Bungalow  Brown;  Stucco  Walls,  Acme  Quality  Concrete  Finish,  Cream;  Doors  and 
Shutters,  Acme  Quality  Durable  Green,  Medium 


20 


A COUNTRY  HOUSE  IN  THE  FRENCH  STYLE 

PEABODY,  WILSON  &.  BROWN,  ARCHITECTS 

Long  Island  and  Westchester  County  in  New  York  State  are  greatly 
indebted  to  the  Jinn  of  Peabody,  Wilson  cV  Brown  for  many  most 
attractive  country  houses.  Noted  as  this  firm  is  for  its  work  in  this 
particular  field  of  architectural  design,  it  has  also  gained  a wide 
reputation  as  designers  of  municipal  and  school  buildings  of  various 
types.  As  graduates  of  leading  American  universities  and  archi- 
tectural schools,  and  theEcole  des  Beaux  Arts  in  Paris,  the  members 
of  this  firm  have  built  up  a wide  and  extensive  practice  among  people 
of  architectural  appreciation  and  understanding.  They  have  been 
unusually  fortunate  in  their  class  of  clients.  An  architect  can  do  his 
best  work  only  when  he  possesses  the  complete  confidence,  sympathy, 
and  backing  of  his  client.  Too  often  the  less  appreciative  type  of  client 
attempts  to  impose  his  own  ideas  and  preferences  upon  his  architect 
and  interior  decorator,  regardless  of  how  inconsistent  and  undesirable 


his  ideas 

THE  house  illustrated  on  the  opposite  page 
is  an  excellent  example  of  one  ot  Peabody, 

W ilson  & Brown’s  smaller  houses.  It,  however, 
well  exemplifies  their  fine  work.  The  walls  are 
covered  with  a cream  painted  stucco  relieved 
by  the  green  shutters  of  the  windows  and 
entrance  door  and  the  green  stained  copper  of 
the  roof  gutters.  Raised  quoins  at  the  corners 
and  a raised  belt  course  dividing  the  first  and 
second  stories  emphasize  the  style  of  the  house 
and  suggest  one  type  of  suburban  French  villa. 
The  proportion  of  all  the  windows  and  their 
relation  to  the  wall  spaces  between  them  is  fine. 
Nothing  adds  more  dignity  and  spaciousness  to 
a house  than  broad,  unbroken  wall  spaces  be- 
tween the  window  and  door  openings.  As  in  all 
formal  architecture,  the  windows  of  the  second 
story  are  on  an  axis  with  those  of  the  first.  In 
the  large  living  room  at  the  end  of  the  hall 
the  walls  and  woodwork  are  painted  gray  green. 
One  of  the  most  attractive  rooms  is  the  study. 


may  be. 

The  color  scheme  in  this  room  is  warm  gray 
and  rose  red.  Hooked  rugs  in  gay  colors  are 
scattered  over  the  wide-board  floor,  which  is 
stained  dark.  As  a decorative  element  in  a 
room,  dark  rich  floors  are  most  effective,  and 
greatly  help  to  hold  down  and  tie  together  the 
four  walls  and  the  furniture.  Book  backs  with 
their  varied  shades  also  form  an  effective  color 
decoration.  Tones  of  old  parchment  or  faded 
morocco  leather,  the  color  of  old  l look  backs, 
are  effective  colors  to  use  on  the  walls  of  a 
library  .The  walls  of  the  dining  room  are  a shade 
of  yellowish  buff  and  the  window  hangings 
anti  the  chair  seats  are  in  azure  blue.  Nothing 
sets  off  mahogany  furniture  better  than  buff, 
yellow  or  gray  walls.  Where  furniture  in  pine 
or  maple  is  used  such  colors  as  lavender, 
green  and  blue  are  most  effective  for  the  walls. 
It  is  not  inappropriate  in  rooms  of  Renais- 
sance design  to  decorate  them  in  any  of  the 
periods  of  Georgian  or  Colonial  architecture. 


First  Floor  Pla 


Second  Floor  Plai 


Ceiling,  Acme  Quality  Kalsomine  No.  51;  Walls  a ml  Woodwork.  Acme  Quality  No-Lustre  Finish  No. 


Light  Yellow 


Ceiling.  Acme  Quality  Kalsomine,  White;  Walls  and  Woodwork  and  Trim,  Acme  Quality  No-Lustre  1‘imsh, 
First  Coat  White;  Second  Coat  No.  66  Scumbled 

?? 


Ceiling.  Acme  Quality  Kalsomine  No.  51;  Walls  and  Woodwork,  Acme  Quality  No-Lustre  Finish  No.  57  and  No.  (>0  Mixed 


Ceiling,  Acme  Quality  Kalsomine  No.  70;  Plaster  Walls,  Wood  Mouldings  and  Trim,  Acme  Quality 
No-Lustre  Finish  No.  59,  Green 


:s 


Stucco  Walls,  Acme  Quality  Concrete  Finish,  Cream;  Wood  trim.  Acme  Quality 


i>ew  n. ra  riouse  raint 


24 


A COUNTRY  HOUSE  IN  THE  FRENCH  STYLE 


LEIGH  FRENCH,  JR.,  ARCHITECT 

The  designer  of  this  delightful  house,  suggestive  of  the  villas  and 
smaller  residences  found  at  Versailles,  and  other  Parisian  suburbs, 
is  one  of  the  best  known  among  the  younger  architects  of  New  York 
City.  A fter  many  years  of  study  in  this  country  and  Europe 
Mr.  French  began  the  practice  of  his  profession  at  the  close  of  his 
service  in  the  World  War,  ten  years  ago.  In  this  short  decade 
he  has  risen  to  a position  of  prominence  as  an  architect  of 
country  houses  and  is  recognized  as  an  authority  on  French  domestic 
architecture,  both  city  and  rural.  His  book  on  “The  Smaller 
Houses  and  Gardens  of  Versailles,"  is  considered  indispensable  to 
anyone  xrho  would  understand  the  subtle  charm  and  underlying  prin- 
ciples which  make  these  French  houses  so  homelike  and  so  artistic. 


OF  the  many  different  interesting  types  of 
European  domestic  architecture  used  as 
inspiration  and  precedent  for  the  latest  mode  in 
American  country  house  design  no  type  is  as 
inherently  suitable  and  adaptable  to  our  clim- 
ate and  manner  of  living  as  the  French  pro- 
vincial house.  To  quote  this  eminent  authority 
and  architect,  Mr.  French  says  of  this  par- 
ticular house  in  the  Provincial  style  which 
forms  the  subject  of  this  present  discussion, 
that  although  it  is  designed  in  a vein  dis- 
tinctly reminiscent  of  the  type  of  Norman 
country  house  so  common  in  northern  France, 
no  attempt  has  been  made  to  reproduce  or 
adapt  some  specific  original.  Although  no 
effort  has  been  made  to  assemble  a composi- 
tion by  piecing  and  fitting  together  a collection 
of  features  and  details  borrowed  from  a variety 
of  sources,  yet  the  essential  quality  and  charm 


of  the  type  has  been  imparted  to  this  house, 
which  is  American  and  not  French  in  the 
arrangement  of  its  plan,  and  is  thoroughly 
suited  to  American  conditions  of  living.  In 
regard  to  plan,  many  a French  example  that 
is  most  alluring  and  artistic  externally  is 
not  at  all  suited  to  American  living  require- 
ments, or  modern  conveniences  and  comfort. 

The  smooth  stucco  over  the  tile  is  painted 
a light  cream-yellow.  All  of  the  casement  win- 
dows, ami  their  frames  are  painted  white,  and 
the  doors  and  shutters  light  green.  1 hrough- 
out  the  house  much  thought  has  been  given  to 
the  color,  which  has  been  made  to  play  its  full 
part  under  the  direction  of  the  architect  who 
selected  and  settled  all  of  the  colors  as  well 
as  the  interior  furnishings  and  decorations. 
Usually  the  interior  decorator  decides,  selects, 
and  provides  all  of  these  important  details. 


25 


Ceiling,  Acme  Quality  No-Lustre  Finish  No.  74  Pearl  Gray;  Woodwork. 

Walls,  Acme  Quality  No-Lustre  Finish 


Acme  Quality  No-Lustre  Finish  No.  70,  Light 
No.  53,  Light  Yellow 


Green; 


Ceiling,  Acme  Quality  Kalsomine  No.  53;  Woodwork  and  Walls,  Acme  Quality  No-Lustre  Finish  No.  74,  Pearl  Gray 


26 


Ceiling.  Acme  Quality  No-Lustre  Finish  No.  74.  Pearl  Gray;  Woodwork  and  Walls.  Acme  Quality  No-Lustre  Finish,  first  coat. 

No.  64  Pink,  second  coat.  White  Scumbled 


27 


28 


THE  FRENCH  CHATEAU  STYLE  ADAPTED  TO  AN 
AMERICAN  COUNTRY  HOUSE 


EDMUND  B.  GILCHRIST,  ARCHITECT 

Born  and  brought  up  in  Philadelphia , the  son  of  the  founder  of  the 
Philadelphia  Orchestra,  Mr.  Gilchrist  is  entirely  a product  of  the 
Quaker  City.  His  designs  show  great  imagination,  freedom  of 
expression  and  architectural  distinction.  It  is  easy  to  recognize  Mr. 
Gilchrist's  work,  as  it  has  as  much  individuality  in  character  and 
expression  as  has  the  work  of  all  the  great  artists  and  architects. 


IN  the  case  of  this  house  in  the  French 
Chateau  style,  a local  stone  is  used  as  the 
medium  of  architectural  expression.  The  plan, 
which  is  L-shaped,  and  clearly  expressed  in  the 
exterior  design,  seems  to  ramble  up  the  lull  in  a 
pleasingly  picturesque  and  haphazard  fashion. 
The  main  floor,  on  which  are  located  the  living 
room  and  dining  room,  is  reached  from  the 
entrance  vestibule  by  three  steps,  and  the  din- 
ing room,  which  is  on  a still  higher  level,  is 
three  steps  above  the  stair  hall  floor.  The 
kitchen  and  the  pantry  are  on  the  same  level 
with  the  dining  room,  but  the  service  entrance, 
onto  the  driveway,  is  several  steps  below  this 
level.  An  elliptical  stairway  located  in  the 


corner  tower  connects  the  first  with  th  e second 
floor,  where  four  bedrooms  and  three  baths 
for  the  use  of  the  owner  anti  Ins  family  are 
located.  The  house  seems  much  larger  than  it 
is.  At  the  rear  of  the  house,  in  the  angle  formed 
by  the  main  building  and  the  long  service 
wing,  is  an  attractive  flower  garden  upon 
which  open  the  casement  windows  of  all  the 
principal  rooms  on  the  first  and  second  floors, 
as  well  as  the  covered  porch  around  the  small 
end  library.  As  is  characteristic  of  all  Air. 
Gilchrist’s  interior  architecture,  great  care  and 
excellent  judgment  have  been  shown  in  the 
selection  of  colors  used  in  the  principal  rooms. 
Color  gives  interiors  warmth  and  individuality. 


29 


Ceiling,  Acme  Quality  Kalsomine  No. 


77,  Cream;  Woodwork  and  Walls,  Acme  Quality  No-Lustre  Finish,  First  Coat  No.  64. 
Second  Coat,  White  Scumbled 


30 


Ceiling,  Acme  Quality  Kalsomine  No.  51;  Walls,  Acme  Quality  No-Lustre  Finish  No.  74,  Pearl  Gray;  Trim,  Acme 

Quality  Oil  Wood  Stain.  Walnut 


Plaster  Ceiling,  Acme  Quality  Kalsomine  No.  56;  Wall  Paneling,  Acme  Quality  No-Lustre  Finish,  First  Coat  No.  66,  Second 
Coat  Nos.  57  and  64.  Equal  Parts  Scumbled;  Ceiling  Beams.  Acme  Quality  Oil  Wood  Stain.  Dark  Oak 


31 


32 


COUNTRY  HOUSE  IN  THE  FRENCH  PROVINCIAL  STYLE 


FRANK  J.  FORSTER,  ARCHITECT 

Among  the  many  architects  who  specialize  in  the  designing  of 
American  country  houses,  probably  no  one  of  them  is  better  known 
than  Mr.  Forster.  As  was  the  case  with  the  late  Bertram  G . Goodhue 
and  with  many  of  the  leading  architects  of  today,  this  talented  young 
man  was  largely  self-taught.  Pie  obtained  his  architectural  training 
and  appreciation  through  extensive  and  repeated  travels  through  the 
British  Isles  and  Europe,  where  he  sketched  and  made  measured 
drawings  of  architectural  subjects.  After  several  years  spent  in  the 
offices  of  a number  of  different  New  York  architects,  Mr.  Forster 
began  practicing  his  profession  independently . Flis  work  then  as 
now  was  mainly  in  the  English  and  French  country  house  types. 


MR.  FORSTER’S  interest  in  English  and 
French  architecture  arises  from  a reali- 
zation that  both  of  these  styles  of  country 
houses  are  eminently  suited  for  use  in  America, 
and  are  perfectly  adapted  to  our  climate 
and  countryside,  and  that  they  are,  further- 
more, part  of  our  direct  racial  inheritance. 
His  country  houses  combine  to  a remarkable 
degree  an  appreciation  of  the  picturesque  and 
an  understanding  of  composition  and  plan  in 
architectural  design.  lie  has  twice  received 
recognition  from  the  Architectural  League  of 
New  York,  first  in  1927  when  he  was  awarded 
the  Silver  Medal  in  Architecture,  and  again 
in  1928  when  he  received  Honorable  Mention 
on  account  of  this  house  in  the  Normandy 
style,  a rendering  of  which  appears  on  the 
opposite  page.  This  design  is  included  m this 
collection  of  country  houses,  because  it  is  not 
only  one  of  the  best  examples  of  Mr.  Forster’s 
work  in  the  French  Provincial  style  but  also 
because  the  plan  is  very  convenient  and  prac- 
tical and  the  design  is  carried  out  with  a 
strong  feeling  for  composition  and  the  pictur- 


esque. A large  living  room  with  bull  painted 
plaster  forms  the  main  part  of  the  house.  At 
one  end  is  located  the  dining  room  painted 
old  rose,  above  which  is  a room  and  bath  for 
two  servants,  while  at  the  other  end  are  two 
bedroom  suites,  one  located  on  the  first  floor 
and  one  on  the  second.  Part  of  the  bedroom 
suite  on  the  first  floor  is  a hallway,  which  con- 
nects the  living  room  with  a covered  porch, 
extending  out  onto  the  broad  terrace  in  front 
of  the  house.  Doors  from  both  the  living 
room  and  dining  room  open  onto  this  paved 
court.  A small  gateway  at  one  end  opens 
onto  the  flight  of  steps  which  leads  down  to 
the  entrance  drive  and  garage  courtyard.  In 
the  accompanying  sketch  of  tins  house  these 
steps  are  shown  in  the  foreground  wi  th  the 
dining  room  bay  immediately  above.  In  the 
background  at  the  right  of  the  high,  two- 
story  bedroom  section  of  the  house  is  the 
covered  porch  which  opens  onto  the  paved 
terrace.  Located  on  a wooded  hillside,  the 
design  of  this  house  is  admirably  suited  to  its 
informal  surroundings  and  location. 


33 


li - - — 

Woodwork,  Ceiling  Beams  and  Panels.  Acme  Quality  Oil  Wood  Stain,  Dark  Oak;  Plaster  Walls.  Acme  Quality  No-Lustre 
Finish.  First  Coat  No.  64.  Second  Coat.  White  Scumbled 


Ceiling.  Acme  Quality  Kalsomine  No.  77;  Wood  Trim,  Acme  Quality  Oil  Wood  Stain.  Walnut;  Walls,  Acme  Quality  Interior 

Gloss  Finish  No.  506,  Medium  Yellow 


34 


Ceiling,  Acme  Quality  Kalsomine  No.  55;  Walls.  Acme  Quality  No-Lustre  Finish  No.  74.  Pearl  Gray;  Woodwork  and  Beams, 

Acme  Quality  Oil  Wood  Stain,  Walnut 


Roof.  Acme  Quality  Shingle  Stain  No.  7.  Silver  Gray;  Walls  and  Trim,  Acme  Quality  New  Era  House  Paint,  Outside  White 


36 


A HOUSE  IN  THE  STYLE  OF  THE  FRENCH  SUBURBAN  VILLA 


THOMAS  HARLAN  ELLETT,  ARCHITECT 

Among  the  several  architects  in  New  York  who  thoroughly  under- 
stand the  adaptation  of  French  suburban  and  country  architecture 
for  use  in  American  houses,  no  one  is  more  talented  or  successful 
than  Air.  Elletl.  FI  is  training  has  well  fitted  him  to  appreciate  and 
understand  the  several  phases  of  French  and  English  domestic  archi- 
tecture. Graduating  from  the  Architectural  School  of  the  University 
of  Pennsylvania.  Mr.  Ellett  continued  his  studies  in  Paris  and  at 
the  American  Academy  in  Rome.  The  several  years  thus  spent  were 
followed  by  extensive  travel  in  England  and  Europe.  Returning  to 
this  country,  his  early  office  training  was  secured  with  the  firm  of 
Me  Kim,  Mead  & White.  Thirteen  years  ago  Mr.  Elletl  opened  his 
office  for  the  practice  of  architecture,  which  was  interrupted  shortly 
after  by  two  years  of  service  as  an  officer  with  the  A.  E.  F.  in  France. 
At  the  close  of  the  World  War  Mr.  Ellett  resumed  practice  in  New 
York,  where  he  has  become  well  known  as  a designer  of  large  country 
houses,  receiving  in  igz8  the  Architectural  League  Medal  for 
Domestic  Architecture . Fie  was  also  selected  by  the  United  States 
Government  to  design  the  American  Memorial  Military  Chapel  for 
the  St.  Mihiel  Cemetery  at  Thiaucourt,  France. 


MR.  ELLETT’S  work  is  noted  for  its 
individuality,  charm  and  picturesque 
quality.  Even  in  his  more  formal  houses,  such 
as  this  delightful  Long  Island  villa  shown  on 
the  opposite  page,  there  is  a certain  artistic 
quality  which  combines  well  with  the  archi- 
tectural dignity  found  in  the  French  Renais- 
sance. This  long,  low  house  with  its  sunny, 
open  forecourt,  balanced  by  a covered  pavilion 
on  either  side,  has  an  unusual  amount  of 
hospitable  and  domestic  charm.  This 
attractive  Long  Island  villa  is  as  inter- 
esting in  plan  as  it  is  in  elevation.  A large 
entrance  hall  and  library  occupy  the  center  of 
the  house  with  a spacious  living  room  on  one 
side  opening  onto  the  entrance  court  and  also 
upon  the  garden  terrace  and  the  pavilion.  On 
the  opposite  side  is  a stair  hall  and  large  dining 


room.  The  latter  also  opens  onto  the  garden 
terrace  and  the  other  small  pavilion,  which  in 
this  case  is  used  as  a breakfast  room.  Beyond 
the  dining  room  is  located  the  service  depart- 
ment, containing  pan  try,  kitchen,  servants’  hall 
and  bedroom.  On  the  second  floor  there  are 
live  master  bedrooms  and  baths,  and  closets. 
As  Air.  Ellett  built  this  house  for  a well 
known  interior  decorator  who  designed  all  of 
the  interior  decorations,  the  house  is  unusually 
interesting  and  attractive.  Combinations  of 
harmonious  and  delightful  colors  give  indi- 
viduality and  charm  to  each  room.  French 
architectural  details  as  well  as  decorations 
have  been  used  throughout,  so  there  is  a very 
decided  consistency  in  the  entire  house,  which 
quality  is  too  often  neglected  and  overlooked 
in  the  modern  American  country  house. 


37 


Ceiling,  Acme  Quality  Kalsoinine  No.  51;  Doors  and  Wall  Paneling,  Acme  Quality  No- Lustre  Finish  No.  77,  Deep  Tan 


Ceiling,  Acme  Quality  Kalsomine  No.  55;  Doors  and  Woodwork,  and  Plaster  Walls,  Acme  Quality  No-Lustre  Finish  No.  74. 
Pearl  Gray;  Landscape  Decorations.  Acme  Quality  No-Lustre  Finish  No.  66,  Silver  Gray. 


38 


Ceiling,  Acme  Quality  Kalsomine  No.  77;  Walls  and  Woodwork,  Acme  Quality  No-Lustre  Finish  No.  55,  Light  Yellow 


Ceiling,  Acme  Quality  Kalsomine.  W hite;  Walls  and  Trim,  Acme  Quality  No-Lustre  Finish,  W lute 


39 


Roofs,  Acme  Quality  Shingle  Stain,  Forest  Green;  Walls  and  Trim,  Acme  Quality  New  Era  House  Paint,  Outside  White; 

Blinds,  Acme  Quality  Durable  Green,  Medium 


40 


A COUNTRY  RESIDENCE  IN  COLONIAL  FARMHOUSE  STYLE 

ROBERT  O.  DERRICK,  ARCHITECT 


One  of  the  leading  and  best  known  American  architects  of  country 
residences  is  Robert  0.  Derrick  of  Detroit.  After  graduating  from 
Yale  University  and  the  Architectural  School  of  Columbia  Univers- 
ity, he  traveled  and  studied  in  England  and  France.  Three  years  of 
service  in  the  World  War  delayed  his  start  as  a practicing  architect. 
After  practical  experience  in  one  of  the  large  architectural  offices  of 
New  York,  A'lr.  Derrick  became  a partner  in  the  architectural  Jinn 
of  Brown  & Preston,  in  Detroit.  On  the  retirement  of  these  two 
architects  a few  years  later,  the  firm  of  Robert  0.  Derrick,  Inc.,  was 
formed,  and  for  the  past  Jive  years  has  been  recognized  as  one  of  the 
leading  architectural  firms  in  Detroit.  Many  of  the  most  important 
residences  and  clubs  erected  in  and  around  Detroit  during  the  past 
Jive  years  have  been  designed  by  Air.  Derrick. 


TN  this  unusually  attractive  example  of  his 
work  all  of  the  distinguishing  character- 
istics of  the  Connecticut  farmhouse  style  have 
been  successfully  incorporated . The  house  is 
entered  through  a small  hall  with  a battened 
front  door  and  heavily  balustraded  stairway. 
The  walls  are  painted  yellow  and  woodwork 
green.  The  large  living  room  is  a successlul 
modern  example  of  early  American  architecture. 
The  ceiling  is  made  of  rough  hewn  timbers 
with  wide  planks  above.  The  treatment  of  the 
chimney-piece,  as  well,  perfectly  carries  out  the 
farmhouse  style.  Hooked  rugs  in  bright  tones 
give  color  warmth  and  blend  harmoniously 
with  old  rose  painted  walls.  The  dining  room 
with  its  old  fashioned  kitchen  fireplace  and 
side  oven  partly  walled  with  heavy  oak  boards, 
a beam  and  plank  ceiling,  early  American  furni- 


ture m pine  and  oak  and  quaint  hooked  rugs 
on  the  floor,  reproduces  perfectly  an  old  New 
England  kitchen.  Here  theyellow painted  plas- 
ter walls  and  peacock  green  rugs  add  gaiety  to 
what  might  otherwise  be  a rather  somber  room. 
The  bedrooms  are  very  interesting  with  their 
painted  plank  walls  and  ceilings  and  wide  oak 
boarded  floors.  In  spite  of  the  rough  crudeness 
of  the  interior  finish  and  detail , there  is  no  bleak, 
bare  severity  in  the  atmosphere  of  this  country 
house.  Well  chosen  and  harmonious  colors 
dominate  the  interior  decorations  of  every 
room.  It  must  be  a constant  joy  to  live  in  a 
house  which  so  radiates  warmth  of  color. 
In  the  hands  of  one  who  understands  the  value 
of  color  as  well  as  consistency  in  style,  it  is 
remarkable  what  masterpieces  may  be 
achieved  in  the  art  of  interior  architecture. 


41 


Ceiling,  Beams  and  Boards,  Doors  and  Trim,  Acme  Quality  No-Lustre  Finish  No.  74.  Pearl  Gray;  Wall  Boards,  Acme  Quality 
No-Lustre  Finish  No.  56  Light  Bull';  Plaster  Walls,  Acme  Quality  No-Lustre  Finish  No.  55,  Light  Yellow 


Ceding,  Acme  Quality  Kalsomine  No.  77;  Walls,  Acme  Quality  No-Lustre  Finish,  First  Coat,  No.  67 
No.  55,  Light  Yellow  Scumbled;  Doors  and  Trim,  Acme  Quality  No-Lustre  Finish  No. 


Light  Tan.  Second  Coat. 
^0,  Light  Green 


42 


Doors,  Trim,  Paneling,  Woodwork  and  Ceding  Beams,  Acme  Quality  No-Lustre  Finish  No.  74,  Pearl  Gray;  Ceiling,  Acme 
Quality  No-Lustre  Finish  No.  66,  Silver  Gray;  Plaster  Walls,  Acme  Quality  No-Lustre  Finish  No.  60,  OKI  Rose 


43 


Root.  Acme  Quality  Shingle  Stain,  Silver  Gray;  Walls,  Acme  Quality  New  Era  House  Paint,  Outside  White;  Doors  and  Blinds, 

Acme  Quality  Durable  Green,  Medium 


4-4 


A COUNTRY  HOUSE  IN  THE  COLONIAL  STYLE 


RUSSELL  S.  WALCOTT,  ARCHITECT 

Throughout  ihe  middle  nest  and  particularly  in  Chicago,  Air. 
Walcott  is  recognized  as  one  of  the  foremost  country  house  architects . 
After  graduating  from  Princeton  University , where  he  specialized  in 
Architecture , Mr.  \\  alcott  studied  abroad.  Upon  returning  he 
worked  for  two  years  in  the  office  of  the  late  Howard  Shaw  and  then 
for  two  years  more  in  the  office  of  David  Adler,  both  prominent 
architects  in  Chicago.  After  a year  in  France  with  the  A.E.F.,  which 
interrupted  Mr.  Walcoit's  architectural  career,  he  returned  to 
Chicago,  and  in  1922  formed  the  firm  of  Clark  and  Walcott,  which 
has  recently  been  dissolved,  and  followed  by  a partnership  with 
Robert  Work.  The  work  of  this  successful  young  architect  is  charac- 


terized by  originality  in  design,  fn 
an  ability  to  plan  comfortable, 
attractive 

TT  is  not  necessary  to  go  to  Long  Island, 
Westchester  County  or  Newport  to  find 
outstanding  examples  of  modern  country 
houses.  The  suburbs  of  Chicago  offer  some  of 
the  finest  examples.  In  this  unusually  attrac- 
tive example  of  Mr.  Walcott’s  work  here  pre- 
sented, are  found  many  of  the  characteristics 
which  distinguish  the  New  England  farm- 
houses, such  as  the  predominance  of  the  main 
house  in  contrast  to  its  story  and  a half  wings, 
the  carefully  scaled  and  well-spaced  windows, 
the  delightful  details  of  the  entrance  door  and 
the  well-studied,  interesting  plan.  The  prin- 
cipal rooms  of  the  first  floor  are  located  in  the 
center  and  left  wing.  Here  a long  entrance  hall 
with  circular  staircase  at  one  end  connects  a 
living  room  and  dining  room.  In  all  of  these 
rooms  color  plays  a prominent  part.  The  deep 
old  gold  of  the  painted  walls  and  the  ivory 
tone  of  the  woodwork  give  a warmth  of  color 
to  this  Colonial  hall.  The  large  square  dining 
room  with  its  simple  Colonial  furniture  has 
ivory  painted  woodwork  and  walls  decorated 


ledom  in  the  use  of  precedent  and 
convenient  and  architecturally 
houses . 

in  dull  terra  cotta  anti  green  against  a yellow 
background.  A green  rug  repeats  the  green  in 
the  walls.  The  living  room  is  paneled  from 
floor  to  ceiling  in  wood  painted  in  tones  of 
buff,  characteristic  of  some  of  the  Early 
American  interiors.  Bright-toned  linens  and 
flower-filled  windows  on  either  side  of  the  fire- 
place give  a gav  and  cheerful  atmosphere  to 
this  living  room.  The  library,  located  four 
steps  below  the  level  of  the  main  floor,  occu- 
pies the  left  wing.  II  ere  book  shelves  in 
painted  wood  extend  from  floor  to  ceiling.  The 
warm  tones  of  the  woodwork,  the  book  backs 
and  the  rug  make  this  a delightful  room  for 
restful  reading  and  quiet  seclusion.  The  ser- 
vice rooms  of  the  house  are  located  in  the  right 
wing  on  both  the  first  and  second  floors.  In 
the  seven  master’s  bedrooms  on  the  second 
floor  varied  combinations  of  color  have  made 
them  attractive  and  livable.  The  accepted 
truth  that  nothing  adds  more  to  the  ;oy  of 
living  than  harmonious  and  cheerful  colors  is 
splendidly  exemplified  in  this  country  house. 


45 


46 


Ceiling,  Acme  Quality  Kalsomine  No.  56;  Paneled  Woodwork.  Acme  Quality  No-Lustre  Finish  No.  67,  Light  Tan 


47 


Walls  of  Wings,  Trim  and  Window  Sashes  and  Frames,  Acme  Quality  New  Fra  House  Paint,  Outside  White; 
Blinds,  Acme  Quality  Durable  Green,  Medium 


48 


A SOUTHERN  COUNTRY  HOUSE  IN  THE  COLONIAL  STYLE 


AY  MAR  EMBURY,  II,  ARCHITECT 

Descended  from  French  Huguenot  and  English  stock,  Mr.  Embury's 
grandfather  and  great-great-grandfather  were  also  Neiu  York  archi- 
tects in  the  days  when  architecture  as  a profession  teas  hardly  known 
in  this  country.  After  an  early  education  in  both  English  andGerman 
schools,  Air . Embury  graduated  from  Princeton  University  where  he 
received  the  degrees  of  A. B.  and  A.Al . After  five  years  of  architectural 
training  in  the  offices  of  several  leading  New  York  architects,  he 
started  his  own  professional  practice.  Although  one  of  the  uidest 
known  architects  of  country  houses  in  the  United  States,  Ah  . Embury 
has  been  quite  as  successful  in  many  other  important  types  of  build- 
ings, such  as  banks,  churches,  schools,  college  buildings,  country  clubs 
and  apartment  houses. 


WHEN  he  builds  a Colonial  house  in  New 
England  it  has  all  the  severe,  cold  dig- 
nity and  formality  of  the  work  ol  Bulfinch  and 
McIntyre.  Ills  understanding  of  scale  and  pro- 
portion, his  handling  of  masses,  his  grasp  of 
the  art  of  planning  and  his  knowledge  of  archi- 
tectural detail  ami  its  proper  use  are  unsur- 
passed in  his  profession.  Combined  with  his 
appreciation  of  tie  tail  is  his  love  for  color.  In 
this  Colonial  house,  Mr.  Embury  was  not  con- 
tent to  cover  the  entire  house  with  white 
painted  stucco.  To  relieve  the  monotony  of 
one  color  in  so  large  a house,  the  center  por- 
tion of  the  design,  which  is  the  main  house  is 
purposely  built  of  brick  of  a warm  golden  red. 
The  texture  and  color  of  the  brickwork  con- 
trasts delightfully  with  and  sets  off  the  smooth 
painted  plaster  walls  of  the  end  buildings. 

The  fine  interior  of  the  house  is  even  more 
emphatic  in  the  use  of  strong  but  pleasant 
colors.  The  exquisite  detail  of  the  pilasters, 
frieze  and  cornice  in  the  living  room  is  greatly 
enhanced  by  the  cool  green  with  which  it  is 
painted.  Hunting  red  is  used  for  the  curtains 
and  the  upholstery  of  some  of  the  chairs, 
which  relieves  the  coolness  of  the  green  painted 
walls.  The  wide  board  dark  oak  iloor  success- 
fully holds  down  the  carefully  studied  color 
scheme  of  this  room.  The  paneled  walls  of  the 
library  are  particularly  interesting  in  color. 


painted  in  a striking  shade  of  robin’s  egg  blue. 
Deep  old  rose  is  used  for  the  window  hang- 
ings, and  the  chairs  are  upholstered  some  in 
a deep  straw  color  and  others  in  mauve.  In 
all  of  the  color  drawings  of  interiors  shown  m 
this  book,  it  has  in  general  been  impossible 
to  do  anything  more  than  suggest  appropriate 
furnishings.  The  color  scheme  of  the  dining 
room  is  unusually  distinctive  and  effective. 
Here  the  walls  are  painted  apricot  color  with 
apple  green  hangings.  A dark  stained  teak- 
wood  floor  covered  with  a rug  deep  in  tones 
ol  mauve,  gives  the  desired  contrast  with  the 
light  walls  and  ceiling.  Interesting  color  com- 
binations are  used  in  all  of  the  bedrooms.  The 
one  shown  here  is  particularly  attractive  with 
its  cornflower  blue  walls,  straw  colored  hang- 
ings for  the  bed  and  windows,  and  the  deep 
old  rose  of  the  furniture  coverings.  No  one 
who  has  visited  the  American  wing  of  the 
Metropolitan  Museum  can  fail  to  realize  that 
our  ancestors  of  the  Colonial  Period  delighted 
in  the  use  of  strong  and  definite  colors  for 
their  walls  and  woodwork.  Architecture  with- 
out color  is  cold  and  austere,  so  it  is  earnestly 
to  be  hoped  that  the  attempt  made  in  this 
book  to  show  the  possible  consistent  use  of 
real  color  in  interior  architecture,  may 
awake  the  people  of  this  country  to  a better 
appreciation  of  the  use  of  color  in  paint. 


49 


Ceiling,  Acme  Quality  Kalsomine  No.  56;  Walls,  Acme  Quality  No-Lustre  Finish  No.  57,  Blue  Tint 


50 


Ceiling, 


Acme  Quality  Kalsomine  No.  56;  Walls  and  Trim. 


Acme  Quality  No-Lustre  Finish  No.  67,  Light  Tan 


Ceiling,  Acme  Quality 


Kalsomin: 


s No.  77;  Walls  and  Woodwork.  Acme  Quality  No-Lustre  Finish,  First  Coat  No.  66; 
Second  Coat  Nos.  57  and  64  Equal  Parts  Scumbled 


51 


Walls,  Acme  Quality  Concrete  Finish,  Pink;  Trim.  Acme  Quality  New  Era  House  Paint,  Outside  White;  Shutters,  Acme 

Quality  Durable  Green.  Medium 

52 


A COUNTRY  HOUSE  IN  THE  ITALIAN  STYLE 

HOWARD  MAJOR,  ARCHITECT 

Among  the  architects  in  New  York  Mr.  Major  has  long  occupied  a 
prominent  place,  particularly  in  the  field  of  domestic  architecture. 

After  many  years'  experience  in  several  of  the  leading  architectural 
offices  in  New  York,  Mr.  Major  entered  upon  his  professional 
career.  Possessed  of  unusually  good  taste  and  creative  ability  and 
appreciation  of  color,  Mr.  Major  is  preeminently  endowed  to  design 
beautiful  houses.  This  he  has  done  over  a period  of  many  years, 
formerly  in  New  York  and  later  in  Palm  Beach,  where  he  is  now 
practicing.  Extensive  travels  abroad  have  still  further  increased  his 
understanding  of  what  is  best  in  European  architecture  for  adapta- 
tion in  American  houses.  Nearly  all  of  Mr.  Major's  earlier  houses 
were  designed  in  the  Colonial,  Georgian  and  French  styles,  but  since 
establishing  his  practice  in  Palm  Beach  he  has  built  many  attractive 
houses  in  the  Italian  and  Spanish  styles.  He  is  also  much  interested 
in  the  West  Indian  phase  of  Colonial  architecture  found  in  Jamaica 

and  Bermuda. 


THE  house  here  shown  is  a marked  exam- 
ple of  Air.  Major’s  ability  in  adapting  the 
Italian  style  to  American  domestic  require- 
ments. The  pink  painted  walls  and  bottle 
green  shutters  and  red  Spanish  tile  roof  give 
a warmth  and  cheerfulness  to  this  design 
characteristic  of  the  sunny  shores  of  the 
Mediterranean.  The  deep  loggia  with  its 
arcaded  walls  provides  a cool  and  tempting 
retreat  from  the  heat  of  the  sun.  The  walls  of 
this  loggia  are  painted  in  shades  of  cool  blue 
which  in  the  shadow  takes  on  a violet  hue. 
This  loggia  connects  the  large  living  room  on 
the  ground  floor  with  the  main  part  of  the 


First  Floor  Plan 


house,  which  extends  at  right  angles  to  it. 
Unlike  the  treatment  of  many  Italian  living 
rooms,  the  walls  of  which  are  finished  in  rough 
painted  plaster,  this  room  is  paneled  in  pine  in 
the  more  formal  phase  of  Italian  Renaissance. 
In  Mr.  Major’s  interior  architecture,  color 
counts  tremendously  and  effectively.  Many 
people  criticize  the  Italian  style  of  interior 
decoration  as  being  formal,  stiff  and  cold. 
Such  criticism  is  unwarranted  when  bright 
and  cheerful  colors  are  used  for  the  walls  and 
han  gings.  Anyone  who  rejoices  in  the  use  of 
well  chosen  colors  cannot  fail  to  appreciate 
this  well  designed,  delightful  Italian  villa. 


r 


Second  Floor  Plan 


53 


Ceiling  Plaster  and  Beams,  Enamel-Kote,  Ivory;  Acme  Quality  Walls,  Acme  Quality  Enamel  Kote  Robin's  Egg  Blue;  Doors, 

Acme  Quality  Oil  Wood  Stain.  Walnut 


54 


Ceil;, 


Plaster,  Ac 


ality  No-Lustre  Finish  No.  56,  Light  Bull;  Walls,  Acme  Quality  No-Lustre  Finish  No 
Doors  and  Trim,  Acme  Quality  Oil  Wood  Stain,  Walnut 


Ceiling,  Acme  Quality  Kalsomine  No.  51;  Wall  Paneling  and  Trim,  Acme  Quality  No-Lustre  Finish,  One  Finn  Coat  White; 

Doors,  Acme  Quality  Oil  Wood  Stain  Walnut 

55 


4 


